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Dresden - Prague around 1600. Studia Rudolphina Supplement 02
Bukovinská, Beket ; Konečný, Lubomír
This publication, prepared by the Rudolpine Center represents both a sequel to the 2009 volume München–Prag um 1600, and at the same time the continuation of a project focused on charting the contacts among the imperial court of Rudolf II and other courts in Central Europe. The volume brings together the contributions delivered at the international conference organized by the Institute of Art History ASCR jointly with Staatliche Kunstsammlungen in Dresden. At the outset there were sketched the rich contacts between Prague and Dresden. The following papers brought new information concerning the visual arts, science and culture in both capitals. They documented the importance of exanges of artists and of the importance of gifts.\nContributors:\nan Baťa (Univerzita Karlova v Praze), Václav Bůžek (Jihočeská univerzita v Českých Budějovicích), Wolfram Dolz, Michael Korey Peter Plaßmeyer, (Mathamatisch-Physikalischer Salon, Staatliche Kunstsammlungen Dresden), Angelica Dülberg (Landesamt für Denkmalpflege Sachsen), Eliška Fučíková (Praha), Vladimír Karpenko (Praha), Thomas DaCosta Kaufamnn (Princeton University), Jutta Kappel, Dirk Syndram, Ulrike Weinhold (Grünes Gewölbe SKD), Jürgen Müller (Technische Universität Dresden), Holger Schuckelt (Rüstkammer, SKD), Martin Šolc (Astronomický ústav UK), Helen Watanabe-O’Kelly (University of Oxford), Jürgen Zimmer (Berlin), Beket Bukovinská, Martin Krummholz, Ivan P. Muchka, Ivo Purš (ÚDU AVČR).
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Caspar Lehmann: an artist at the court of Rudolf II.
Minaříková, Adéla ; Bukovinská, Beket (advisor) ; Konečný, Lubomír (referee)
Caspar Lehmann is one of the most significant personalities of applied arts in central Europe at the end othe 16th and the beginning of 17th century. As an engraver of glass and precious stones he worked at the court of emperor Rudolf II. in Prague, but also at the court of the elector Christian II in Dresden. Considerable interest in his work was caused mainly by the claim of Joachim von Sandrart from 1675 stating that Caspar Lehmann was granted a privilege for glass engraving. Discovery of a signed beaker in late 19th century further sparked the existing interest in his production. Based on the similarities with the beaker, several other works were subsequently attributed to Lehmann, despite significant differences in quality and style of engraving. The present work summarizes Lehmanns life based on a thorough study of previous literature and archive materials. Main part of the work includes detailed analyses of 26 artifacts which were previously attributed to Lehmann. Based on their comparison it attempts to define a characteristic technique Lehmann used for carving, and subsequently to critically assess his authorship. The thorough comparisons of the existing objects suggest that three portrait pannels (Moritz von Oranien, Johann Sigismund von Brandenburg, and Johann Friedrich von Württemberg)...
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